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Folklore—the inherently creative expression, transmission, and performance of cultural traditions—has always provided a deep well of material for writers, musicians, and artists of all sorts. Folklorists usually employ descriptive and analytical prose, but they, like scholars in other social sciences, have increasingly sought new, creative and reflexive modes of discourse. Many folklorists are also creative writers, some well known as such, and the folk traditions they research often provide shape and substance to their work. This collection of creative writing grounded in folklore and its study brings together some of the best examples of such writing.

Contributors to this collection include Teresa Bergen, John Burrison, Norma E. Cantu, Frank de Caro, Holly Everett, Danusha Goska, Neil R. Grobman, Carrie Hertz, Edward Hirsch, Laurel Horton, Rosan Augusta Jordan, Paul Jordan-Smith, Elaine J. Lawless, Cynthia Levee, Jens Lund, Mary Magoulick, Bernard McCarthy, Joanne B. Mulcahy, Kirin Narayan, Ted Olson, Daniel Peretti, Leslie Prosterman, Jo Radner, Susan Stewart, Jeannie Banks Thomas, Jeff Todd Titon, Libby Tucker, Margaret Yocom, and Steve Zeitlin.

Here is an introspective, poignant portrait of an American family during a time of sweeping changes. Now nearly sixty years after it first appeared, Suckow's finest work still displays a thorough realism in its characters' actions and aspirations; the uneasy compromises they are forced to make still ring true.

Suckow's talent for retrospective analysis comes to life as she examines her own people—Iowans, descendants of early settlers—through the lives of the Ferguson family, living in the fictional small town of Belmond, Iowa. Using her gift of creating three-dimensional, living characters, Suckow focuses on personal differences within the family and each member's separate struggle to make sense of past and present, to confront a pervasive sense of loss as a way of life disappears.

This tale of youth and the immutable forces of society arrayed against its innocence and optimism has been called the best football novel in years.

I died exactly the way I lived.” So begins the astonishing story of C. P. (Corinthians Phillipians) McKay, a star football player and passionate student who loves poetry. C. P. is a young man who appears to have everything going for him. But his downfall begins when he receives a scholarship to a major university. There, he finds his dream blocked from all directions by a ruthless coach, an unethical university president, and a cynical professor as he attempts to play the game he loves, satisfy his desire for knowledge, and guard his integrity.

Said to rival John Grisham’s A Time to Kill among debut novels, The Forever Season was first published by St. Martin’s Press in 1995. Bookpage proclaimed, “It is so much more than a sports story. . . . As understated and as clearly written as the better work of Erskine Caldwell. And as shocking!” The Chattanooga Free Press described it as “a fast-paced, funny and poignant look at coming of age [with] vivid characters [and] well-drawn witty prose [that] will engage readers who don’t know a clip from a couplet.”

In The Forever Season, Don Keith writes with a concise, hard-edged pen about a subject he knows well—the South, its trailer park culture, and its passion for gridiron glory—while exploring universal themes of fumbling youth and innocence lost.

 

The first book in T. S. Stribling's award-winning Vaiden Trilogy about life in north Alabama at the onset, during, and after the Civil War

Originally published in 1931, The Forge introduces the Vaiden family, residents of the rural north Alabama of Stribling’s own youth. The Vaidens are a family of white yeoman farmers who scratch out a living in the social and financial shadow of the Lacefields, masters of an opulent plantation nearby.
 
The novel opens on Alabama’s secession and the onset of the Civil War. It traces the story of Miltiades Vaiden, who enlists in the Confederate army, and explores the ways the Vaidens, Lacefields, and freed slaves attempt to adapt to the collapse of southern society on the home front.
 
After The Forge, Stribling continued the Vaiden saga in 1932 with The Store, which earned him the Pulitzer Prize. He completed the trilogy in 1934 with The Unfinished Cathedral. Together, the three books paint a portrait of the agrarian South of the mid-nineteenth century, its destruction, and the beginnings of a mercantile future.

The Four-Chambered Heart, Anaïs Nin’s 1950 novel, recounts the real-life affair she conducted with café guitarist Gonzalo Moré in 1936. Nin and Moré rented a house-boat on the Seine, and under the pervading influence of the boat’s watchman and Moré’s wife Helba, developed a relationship. Moré; named the boat Nanankepichu, meaning "not really a home."

In the novel, which Nin drew from her experiences on the boat, the characters' sources are clear. Djuna is an embodiment of Nin herself. A young dancer in search of fulfillment, she encapsulates all that the author was striving for at that time. The character of Djuna features in other novels, perhaps weaving a directly autobiographical thread into Nin’s fiction. The gypsy musician, Rango, is therefore Moré, and his invalid wife is Zora. The old watchman is present as a force that, along with Zora, works against the lovers in their quest for happiness.

Nin’s main concern throughout the novel is the "exterior," and how it affects the "interior." Water is a cleverly used theme. “I have no great fear of depths,” says Djuna, “and a great fear of shallow living.” Rango and Djuna’s relationship is, in effect, their effort to remain afloat. Often, Nin employs a stream of consciousness, especially in her flowing analyses of love, life and music, which continues the water image.

Anaïs Nin’s writing is typically exquisite in its detail and texture. She describes Paris: its "black lacquered cobblestones" and "silver filigree trees." The "humid scarfs of fog" on the river, and "the sharp incense of roasted chestnuts" reveal their source through their reality: Nin’s personal experience.

This historical and inspiring coming-of-age novel for young readers explores topics of both historical and contemporary relevance as it follows a harrowing year in the life of its intrepid teenaged narrator.

Lexington, Kentucky, 1833: Calendula “Cal” Farmer, a thirteen-year-old white girl, has been raised by her abolitionist, freethinking mother to reason for herself, consult her inner wisdom, and come to her own conclusions. But when a flash flood devastates her family’s home, Cal is unexpectedly thrust into domestic service in a wealthy family’s mansion. There, she encounters firsthand the physical, intellectual, and emotional brutalities of slavery. Later, a cholera outbreak kills a quarter of the population, including Cal’s mother, and Cal enters an orphanage, where she bravely begins another chapter in her young life.

Cal’s story is sure to captivate readers as she confronts the injustices and uncertainties of racism, class consciousness, epidemic disease, and personal loss with independent thinking, perseverance, and love.

California’s Santa Clara Valley was once home to a vigorous wine industry. The Garden of the World is the tale of a pioneer winemaking family headed by Paul Tourneau, a fiercely ambitious vintner determined to make the finest wines in California. His plans are disrupted by a phylloxera epidemic at the beginning of the twentieth century, the trials of national Prohibition, and the bitter alienation of his older son. Played out against the vividly depicted seasonal rhythms of vineyard life, this is a moving saga of betrayal, loss, and the harsh consequences of unbreakable ambition.

A teen’s life is complicated.  Add an overworked dad, a distraught mom.
Enter an old man from the wrong side of the tracks.
He knows things.  He’s there when you need him.
 
This happens to someone; it’s not a maybe thing.  People get hurt.  People die.  There’s a dad who loves his kid but works all the time.  When he doesn’t work, he drinks.  When he drinks he’s out of control.

There’s a mom.  She knows dad is overworked, a good man carrying too much responsibility. 

The kid turns to the handy man to learn a man’s skills.  In the old man from the wrong side of the tracks, the kid finds unusual skills and terrible—but true—lessons.  He finds that his own safety comes at a cost to his unfortunate friend.  He finds growing up comes at a cost to himself.  This is the story of such a kid, told by himself after he has lived much of his life, come to terms with his parents’ weaknesses, and learned that seemingly insignificant people carry more pain than he can imagine, though he has already seen plenty.

The vast Texas borderland is a place divided, a land of legends and lies, sanctification and sinfulness, history and amnesia, haunted by the ghosts of the oppressed and the forgotten, who still stir beneath the parched fields and shimmering blacktops. It is a realm filled with scorpion eaters and mescal drinkers, cowboys and Indians, Anglos and Chicanos, spirit horses and beat-up pickups, brujos and putas, aching passion and seething rage, apparitions of the Virgin and bodies in the Rio Grande.

In his first collection of short fiction, award-winning poet, editor, and anthologist Ray Gonzalez powerfully evokes both the mystery and the reality of the El Paso border country where he came to manhood.

Here, in a riverbed filled with junked cars and old bones, a young boy is given a dark vision of a fiery future. Under the stones of the Alamo, amid the gift shops and tour buses, the wraiths of fallen soldiers cry out to be remembered. By an ancient burial site at the bottom of a hidden canyon, two lovers come face to face with their own dreams and fears.

In these stories, Ray Gonzalez is a literary alchemist, blending contemporary culture with ancient tradition to give a new voice to the peoples of the border.

This historical novel is the third and final book in American poet and fiction writer Janet Lewis’s Cases of Circumstantial Evidence series, based on legal case studies compiled in the nineteenth century. In The Ghost of Monsieur Scarron, Lewis returns to her beloved France, the setting of The Wife of Martin Guerre, her best-known novel and the first in the series. As Swallow Press executive editor Kevin Haworth relates in a new introduction, Monsieur Scarron shifts the reader into the center of Paris in 1694, during the turbulent reign of the Sun King, Louis XIV. The junction of this time and place gives Monsieur Scarron an intriguing political element not apparent in either The Wife of Martin Guerre or The Trial of Sören Qvist.

The Ghost of Monsieur Scarron begins in a small bookbinder’s shop on a modest Paris street, but inexorably expands to encompass a tumultuous affair, growing social unrest, and the conflicts between a legal system based on oppressive order and a society about to undergo harsh changes. With its domestic drama set against a larger political and historical backdrop, Monsieur Scarron is considered by some critics and readers to be the most intricately layered and fully realized book of Lewis’s long career. Originally published in 1959, Monsieur Scarron has remained in print almost continuously ever since.

Two brothers, Tsaiyah-dzehshi, whose name means First One, and Hamahshu-dzehshi, Next One, are chosen for an important mission. They are sent on a westward trek to the home of the Shiwana, the Rain and Snow Spirits, to ask them to bring the gift of water to the village again. The brothers cross deserts and mountains on an arduous journey until they are finally stopped short by a treacherous canyon filled with molten lava.

The Good Rainbow Road tells how the brothers overcome this last challenge and continue on to their destination. Written in the tradition of Native American oral storytelling and accompanied by colorful illustrations from celebrated Native artist Michael Lacapa, it brings the powers of language, memory, and imagery to a tale that will captivate children ages seven and up.

As Simon Ortiz writes, "The Good Rainbow Road is located in the Native American world, but it is not limited to that world. Even considering humankind's many ethnic and racial differences, we are all part of each other as people and the rest of all Creation, and our stories join us together." This is the foundation of The Good Rainbow Road, and on that road young readers will broaden their understanding of humanity's common bonds.

The Good Rainbow Road is presented in Keres, the language of Acoma Pueblo and six other Pueblo communities in New Mexico, and in English, with an additional Spanish translation in the back of the book.

The Grand Gennaro, a riveting saga set at the turn of the last century in Italian American Harlem, reflects on how youthful acts of cruelty and desperation follow many to the grave. A classic in the truest sense, this operatic narrative is alive once again, addressing the question: How does one become an "American"?

This edition of Dwight Allen’s acclaimed story collection, The Green Suit, ends with a new story, rounding out a dozen interlinked tales about a well-to-do Kentucky family called the Sackriders. The stories cover a period of forty years, from the Vietnam War to the Age of Foreclosure. Chief among the Sackriders is Peter, son of a judge and a vitamin-pill-popping mother, brother to a sister whose troubles with boys take her far from Kentucky. He is a writer perhaps more in love with women (and, intermittently, men) than he is with words, whose eagerness to be loved leads him into alarming circumstances. He is a man with a yearning for transcendence and a penchant for betrayal.
    The new story finds Sackrider in his mid-fifties, married for a second time, the father of a small child, and all tangled up with his next-door neighbor, an artist who likes to use the corpses of animals in his collages.